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The Songs of Robert Burns

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The Songs of Robert Burns — ; ; — I. LOVE-SONGS : PERSONAL 387 ' O saw ye my father, or saw ye my mother, Or saw ye my true love, John? I saw not your father, I saw not your mother, But I saw your true love, John. ' Up Johnnie rose, and to the door he goes, And gently tirled the pin ; The lassie taking tent, unto the door she went, And she open'd and let him in. * Flee, flee up, my bonny grey cock. And craw whan it is day Your neck shall be like the bonny beaten gold, And your wings of the silver grey. ' The cock prov'd false, and untrue he was. For he crew an hour o'er soon The lassie thought it day when she sent her love away, And it was but a blink of the moon.' The origin of this beautiful song has been disputed by Chappell {Popular Music, p. 7J/), who claimed that the original publication of five stanzas is in Vocal Music, or the Songsters Companion, London, 1772, ii. j6. He stated that a Scottified version was reprinted by Herd in 1776, but I have shown that the song was printed in Herd's first edition of 1769. The third stanza in Focal Music, as follows, can be compared with the above second stanza : ' Then John he up arose, and to the door he goes, And he twirled, he twirled at the pin ; The lassie took the hint, and to the door she went, And she let her true love in.' The English copyist discloses his ignorance of the Scots language in the second line, where the lover tirls the wooden latch or pin of the door to arrest his sweetheart's attention. Tivirling is not ti7-litig at all, which in this case is a tremulous vibration of sound like the clicks of an electric instrument trans- mitting a message. The song in Herd's Scottish Songs, 1776, ii. 20S, is extended to seven stanzas and not improved. Pinkerton printed this version in Select Ballads, 1783, 1J4. Lastly a spurious, so-called traditional, version in Cromek's Nitksdale Song, 1810, ^4, is probably the work of Allan Cunningham. The music of the song as in our text is in Stewart's Scots Songs, 1772, 14, with the original verses of 1769. In the Scots Musical Museum, I'jS'j, No. y6, with the seven stanzas of 1 776 ; and in the Pertk Musical Miscellany, 1 786, 2/. IL LOVE : GENERAL. M"o. 110. My Sandy gied. to me a ring. Scots l\Iusical Museum, 1790, No. 204, entitled / love my love in secret. This song is a near copy with alterations of one in Herd^s MS. In Law's MS. List for the Museum, Burns wrote : 'Mr. Burns's old words.' In Scotland it was customary for lovers who were to be temporarily separated, to break a silver coin at time of parting, each keeping a piece as a pledge to be faithful during absence. The custom 0' is described in Logic Buchan : ' He had but a saxpence, he brak it in twa And gied me the hauf o't when he gaed awa.' — — 388 HISTORICAL NOTES The oldest form of the well-known tune Logie o Buckatt is derived from / love my love in secret, which is in Guthrie's MS., according to Dauney ; in Playford's Original Scotch Tunes, 1700; in Sinkler's MS., Glasgow, 17 10; in M'Gibbon's Scots Tunes, 1742,^; in Caledoniait Pocket Companion, c. 1745, 11.26; and other collections. TTo. m. There 's nought but care on ev'ry han'. Of this song all but the last stanza is in the Commonplace Book, under the date Aug., 1784. In its complete form it was published in the Edinburgh edition, 1787, J^jt find with the tune in the Scots Musical Mtiseum, 1787, No. 77, as the earliest song of Burns printed with music. In a passage in the Coinmoyiplace Book, p. 20, Burns divides young men into two classes —the grave and the merry ; and in a later reference to the subject, instead of stating to which class he himself belongs, he quotes tlie fragment of Green grow the rashes, so that the reader may determine the matter himself. The song is so free and spontaneous in its rhythm and cadence, as to require no music to interpret it. It is as popular now as when first given to the public ; not even a century has diminished its lustre. The earlier rustic song which Burns knew, and had in his mind when he wrote his own poem, cannot be printed entire. It is a humorous satire on manners, one stanza running thus : ' We 're a' dry wi' drinkin o't. We're a' dry wi' drinkin o't, The minister kissed the fiddler's wife, And could na preach for thinkin o't.' Two highly-flavoured songs for the tune are in the Me7-ry Muses. In 1794 Thomson proposed to set the verses to the tune Cauld Kail, but Burns objected, saying that as the old song was current in Scotland under the old title, and to the merry old tune of that name, the introduction of his verses with a new tune would mar its celebrity. Cou thou me the raschyes green is named in the Complaynt of Scotland, c. 1549. A tune with this title, which is in a MS. in the British Museum, is quite a different melody from that in the text ; but the germ of the present air is in Straloch's MS., 1627, entitled A dance : Greett grow the rashes. It was known later as / kist her while she blusht, evidently from the first line or refrain of forgotten verses. In Bremner's Reels, 1759, 6^, it is named The Grant's Rant. Its earliest appearance in print is in Oswald's Curious Collection Scots Ttines, I'j^o, p. 42. It is in Oswald's Coffipanion, 1743, i. 18; Stewart's Reels, 1761, ij, and many other tune-books of the end of the eighteenth century. No. 112. O, whar gat ye that hauver-meal bannock ? Scots Musical Aluseum, 1787, No. pp, entitled Bonie Du?idee, with the tune of the same name. Cromek's Scotish Songs, 1810, ii. 202 ; Lawrie's Scottish Songs, 1791, ii. pi. Early in 1787, the Earl of Buchan sent a complimentary letter to Burns, who carried it in his pocket for some time, and ultimately used the dingy blank leaf at one of the meetings of the Crochallan Club to pencil the opening lines of Bonie Dundee, which his friend Robert Cleghorn had just sung. A short time afterwards he sent to the latter the verses in the text. Stenhouse says that the first four lines are old ; while, according to Scott- Douglas, the first eight lines are in the original song. Neither statement is correct ; for only the first two lines of the song are in the original broadside (in the Pepys and other collections), reprinted in Wit and Mirth, London, 1703, as follows: ' Where gott'st thou the Haver-meal bonack ? Blind Booby, can'st thou not see; I'se got it out of the Scotch-man's wallet, As he lig lousing him under a tree. — ; — II. LOVE-SONGS : GENERAL 389 ' Come fill up my cup, come fill up my can, Come saddle my horse, and call up my man Come open the gates, and let me go free. And I'se gang no more to bonny Dundee.' The title is Bonny Dundee ; or. Jockey's Deliverance, &c., in Collection of Old Ballads, 1723, 27/. It describes, in ten stanzas, the intrigue of a licentious trooper with a parson's daughter. This song was veiy popular in England, and was often reprinted. It is named in A second tale of a tub, published in 1715, as one which the Blue bonnets sang in London. A fragmentary stanza in Herd's Scots Songs, 1769, }ii, is evidently a purified remnant of the song. Sir Walter Scott adopted the chorus in Up wV the bonnets d bonnie Dundee. The tune is in the Skene MS., c. 1630, entitled Adew Dundee, here reprinted. It is in V\2l^{o\S!% Dancing Alasier, published in 1688, and afterwards, with the words, in Durfey's Pills, 1719, v. 77. The music, as a dance tune, is in the Caledonian Pocket Companion, 1751, iii. 4, and in many other instrumental collections. The simplicity of the melody is considerably obscured in all the printed copies. Durfey corrupted it with unmeaning flourishes ; it was partly restored in the Caledonian Pocket Companion, but still a good deal removed from the plain smoothness of the original. Copies are also in CraXgs Scots Tunes, 1730, 22, and in M'^Gibbon's Scots Tunes, 1 746, j6. There are two songs in the Merry Mttses for the tune ; and Cromek, Scotish Songs iSio, ii. 207, gives the following as the stanza of an old song: ' Ye 're like to the timmer o' yon rotten wood, Ye 're like to the bark o' yon rotten tree, Ye slip frae me like a knotless thread. An' ye'll crack your credit wi' mae than me.' !N"o. 113. Tfow simmer blinks on flo'w'ry braes. Scots Musical Museum, 1788, No. 77^, signed ' B,' entitled Birks of Aberfeldy. This is the earliest of the series of songs due to the first tour in the Highlands in company with William Nicol, of the High School of Edinburgh. On August 30, 17S7, Burns arrived at Aberfeldy, and wrote in his copy of the Museum, that this song was composed ' standing under the falls of Aberfeldy, at or near Moness.' It is justly esteemed one of the most popular songs in Scotland.
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